Sarah Nicole Prickett

“It’s curious that the intellectual and artistic community transforms its aesthetic unease or personal disgust into a longing for a type of patriarchal and pre-modern moral authority,” Cuauhtémoc Medina, chief curator of Mexico City’s MUAC, speaking about the controversy surrounding Jill Magid’s exhibition at that institution. (But really, such an apt observation on any art world scandal). Magid has turned the cremated ashes of legendary architect Luis Barragán into a diamond. This diamond is being offered to art historian Federica Zanco in the form of an engagement ring as a bartering chip (Zanco owns Barragán’s professional archives in her private collection in Switzerland, denying access to other scholars. According to rumor, the archives were gifted to her as an engagement gift decades ago). Magid’s intent is to liberate the archives to the trust of an institution for public access, but many see the project as disrespectful, tacky, sacrilegious, or even an act of cultural imperialism. The problem I identify here is the choice of an engagement ring. It contextualizes Barragán’s physical remains—in addition to his archive—in a form to suit Federica Zanco, adding insult to injury. [The New Yorker]

New York’s Institute of Arab and Islamic Art has opened with a four-person show that accidentally features all women artists. Dana Awartani, Monir Shahroudy Farmanfarmaian, Nasreen Mohamedi and Zarina Hashmi all deal in geometric abstraction and obsessively-controlled craftsmanship. It sounds like a surprisingly tame show given contemporary identity politics. [Hyperallergic]

This glass-and-concrete artists’ retreat upstate looks like pastoral utopia. Whoever the mystery artist is (a photographer who apparently is quite successful) should invite us up for a weekend! [Dezeen]

Wow. 103-year-old Margaret Ricciardi has been taking art classes every semester at CUNY’s College of Staten Island since becoming widowed in 1983. She still stands while oil painting. Now, she’s receiving an honorary Doctorate from the school. Not a bad way to spend one’s retirement! [New York Daily News]

Wassan Al-Khudhairi is taking over the controversy-plagued position of chief curator at St. Louis’s CAM from Jeffrey Uslip. She certainly has her work cut out for her. I can’t think of another institution as hated by its host city. Thankfully, Al-Khudhairi’s internationally-nomadic lifestyle seems to have given her plenty of experience listening and adapting to new communities. And maybe some global perspective can move the museum beyond its local tensions. [Riverfront Times]

Melania Trump and Ivanka Trump accompanied the president to meet the Pope. Their outfits were INSANE. Totally snatching these looks for our next goth ball. [People]

Baltimore artist-run spaces take note: if you’re a nonprofit or other tax-exempt organization, the state is handing out some healthy-sized grants this year, and the Bromo folks will help you with your application. [Bromo Arts and Entertainment]

“A serious dreamer, he welcomes without begging analysis, and takes analysts, even critics, seriously. The evidence of his generosity is that he doesn’t give his own interpretations. There are so many artists who think they can do my job. I let them. I like writing about art that leaves space.”—Sarah Nicole Prickett on the strange joys of watching David Lynch’s weird-AF-reboot of Twin Peaks as an art critic. [Artforum]

We’re not sure exactly what to expect from Postmasters Gallery’s Lectures for the End of the World. The series features presentations from porn star/writer Stoya, artist/nightlife personality Juliana Huxtable, outspoken punk illustrator Molly Crabapple, and more. But none of these identity-centric artist/activist/writers will be speaking as themselves. They “will serve as live stand-ins” for “the pseudonymous philosopher FuckTheory.”